Knox Goes Away

The protagonist in Knox Goes Away has plenty of misdeeds he’d rather not remember, which is fortunate given his debilitating condition.

A compelling character and a committed portrayal in search of a better movie, the latest directorial effort for acclaimed actor Michael Keaton is a far-fetched dark comic thriller that treats its central affliction as little more than a plot device.

Keaton plays John Knox, an aging contract killer whose normally precise and deliberate routine is compromised by forgetfulness. A visit to a specialist yields a dire diagnosis — an aggressive form of dementia that will have his mind ravaged within weeks.

As he prepares for his next job, he also takes stock. “I’m looking forward to forgetting some things,” he confesses to his mentor (Al Pacino), who has a shady past of his own.

Then he’s visited by his estranged adult son, Miles (James Marsden), who needs help getting out of a jam after a sexual predator who seduced Miles’ teenage daughter is found dead. It’s not long before a suspicious detective (Suzy Nakamura) begins snooping around for clues.

Knox’s symptoms worse and his behavior becomes more erratic, but he still has some loose ends to tie up. His reluctance to trust anyone — even in his own family — remains a hindrance. And how quickly will those around him start to figure out his secret as his neurological clock is ticking?

While our antihero is forced to confront his conscience along with his past, you can pity his circumstances without extending broader sympathy.

Keaton infuses a rather stock character with world-weary gravitas and moral complexity, although it’s a shame that the supporting roles, including that of Knox’s ex-wife (Marcia Gay Harden), aren’t sufficiently fleshed out.

The screenplay by Gregory Poirier (Rosewood) is more effective in its quieter, character-driven moments, suggesting a more thoughtful exploration of deeper themes including family, mortality, and legacy that never fully materializes.

The story becomes more contrived as Knox’s recollections come and go at conveniently timed intervals. The procedural elements are formulaic and the final-act twists feel calculated.

Keaton brings a noir aesthetic behind the camera while probing Knox’s internal conflicts in front of it. Yet ultimately, Knox Goes Away is forgettable.

Rated R, 114 minutes.